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De 2 mest berømte Hermann Daur-malerier, en galleriselektion
Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 2 værker af Hermann Daur i vores katalog
Kort sagt
Af alle de originale værker, som Hermann Daur efterlod, er det mest berømte Portrait of Esther Kern (1912), som er en del af samlingen på Augustiner Museum i Freiburg. Vores katalog indeholder 2 værker af Hermann Daur; galleriet har bevaret de 2 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
1870 – 1925, Stetten
Flest værker: Augustiner Museum
Hermann Daurs top 10 malerier: galleriets udvalg
De museer, der udstiller Hermann Daurs originalværker
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Hermann Daur | Malerier fra denne liste |
|---|---|---|---|
 Augustiner Museum |
Freiburg | 2 | Portrait of Esther Kern, Portrait of Bianca Kern-Hunziker |
Hermann Daur år for år: de originale værker, der definerer hvert år
1912 er året for hvert dateret Hermann Daur værk i dette udvalg: her er de, rangeret efter berømmelse.
Værker per år
Vælg et årstal for at se de originale værker.
Samleres spørgsmål om Hermann Daurs malerier
Hvilket værk er Hermann Daur mest kendt for?Vis svaret
Portrait of Esther Kern (1912)
Hvor gammel var Hermann Daur, da Portrait of Esther Kern blev skabt?Vis svaret
42 år gammel: Portrait of Esther Kern er fra 1912, og Hermann Daur blev født i 1870.
Hvor mange malerier efterlod Hermann Daur?Vis svaret
Vores katalog indeholder 2 værker af Hermann Daur.
I hvilke museer udstilles Hermann Daur's mesterværker?Vis svaret
Primært i Augustiner Museum (Freiburg). Museumslisten ovenfor viser dem alle.
I hvilke år malede Hermann Daur sine mest berømte værker?Vis svaret
I 1912: 2 af de 2 værker på denne side blev skabt dengang, herunder Portrait of Esther Kern.
Hvilke værker af Hermann Daur udstilles på Augustiner Museum?Vis svaret
Portrait of Esther Kern og Portrait of Bianca Kern-Hunziker: Augustiner Museum, Freiburg har 2 af værkerne på denne side.
Hermann Daur: liv og værk
The Quiet Presence of Albert Hermann Daur
The year 1870 marks the beginning of a life that would eventually find its end in Ötlingen in 1925. Born in Stetten, Albert Hermann Daur operated within a specific German tradition, capturing the essence of his subjects and the stillness of the landscape. His brushwork does not shout; it observes. In the quietude of his compositions, one finds a focus on the tangible reality of the era, from the intimate details of a human face to the structural simplicity of a mill nestled in a valley.
His work often centers on the interplay between light and form. In his 1912 oil on canvas, Vorfrühling, Mühle im Kandertal, the scene captures a moment of seasonal transition. The mill sits within the landscape, a fixed point in a changing environment. There is a deliberate weight to his application of oil, a method that prioritizes the physical presence of the subject over mere decoration.
A Study in Form and Subject
Daur’s output reveals a commitment to specific, grounded subjects. He moved between the psychological depth of portraiture and the structural clarity of landscape painting. His technical approach is defined by several key elements:
- The use of oil on canvas to achieve depth in portraiture.
- A focus on the specificities of German topography, such as the Kandertal region.
- A signature style that often included a direct, legible mark on the work itself.
The 1912 Portrait of Bianca Kern-Hunziker serves as a primary example of his ability to hold a gaze. This work, held in the Augustinermuseum in Freiburg, demonstrates his capacity to translate a person into a permanent visual record. He does not rely on artifice, but on the directness of the likeness.
The Final Years and Legacy
By the time of his death in 1925, Daur had established a body of work that remains tied to the specificities of his time and place. His paintings are not abstractions; they are records of a world in transition. The physical remnants of his practice, such as the inscriptions found on the reverse of frames, provide a direct link to his hand. He remains a figure of the German landscape and portrait tradition, a painter who sought to pin down the fleeting light of a spring morning or the steady gaze of a sitter.